Charles Auchester, Volume 2 (of 2)Sheppard, Elizabeth Sara
General
Charles Auchester, Volume 2 (of 2)
Sheppard, Elizabeth Sara
Musical fiction
Our _saal_ was a simple room enough, guiltless of ornament; our
orchestra deal, clear of paint or varnish; our desks the same, but
light as ladies' hand-screens,--this was well, as Anastase, who was
not without his crochet, made us continually change places with each
other, and we had to carry them about. There were wooden benches all
down the _saal_, but nobody sat in them; there was not the glimmer of
a countenance, nor the shine of two eyes. The door-bolts were drawn
inside; there was a great and prevalent awe. The lamps hung over us,
but not lighted; the sun was a long way from bed yet, and so were we.
Anastase kept us at "L'Amour Fugitif" and "Euryanthe,"--I mean, their
respective overtures,--a good while, and was very quiet all the time,
until our emancipation in the "Mer de Glace." His _face_ did not
change even then; but there was a fixity and straightening of the arm,
as if an iron nerve had passed down it suddenly, and he mustered us
still more closely to him and to each other. My stand was next his
own; and, looking here and there, I perceived Iskar among the second
violins, and was stirred up,--for I had not met with him except at
table since I came there.
It is not in my power to describe my own sensations on my first
introduction to Seraphael's orchestral definite creation. Enough to
say that I felt all music besides, albeit precious, albeit
inestimable, to have been but affecting the best and highest portion
of myself, but as exciting to loftier aspirations my constant soul;
but that _his_ creation did indeed not only first affect me beyond all
analysis of feeling, but cause upon me, and through me, a change to
pass,--did first recreate, expurge of all earthly; and then inspire,
surcharged with heavenly hope and holiest ecstasy. That qualitative
heavenly, and this superlative holiest, are alone those which disabuse
of the dread to call what we love best and worship truest by name. No
other words are expressive of that music which alone realizes the
desire of faith,--faith supernal alike with the universal faith of
love.
Public-domain text, read in full here on John Shaqi.
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